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Journal articles on the topic 'Transgender artists'
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1
Evans, Elliot. "‘Wittig and Davis, Woolf and Solanas (…) simmer within me’: Reading Feminist Archives in the Queer Writing of Paul B. Preciado." Paragraph 41, no. 3 (November 2018): 285–300. http://dx.doi.org/10.3366/para.2018.0272.
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This article considers the relation between contemporary queer and transgender theory and the ‘second wave’ of feminism. Specifically, it explores the ways in which transgender theorist Paul B. Preciado's Testo Junkie: Sex, Drugs, and Biopolitics (2008) calls on feminist theorists, artists and activists of the second wave to explore transgender experience and embodiment, and to rethink gender in light of the new era of biocapitalism Preciado proposes. The article questions the way in which trajectories of feminism are conceived of (most famously through the ‘waves’ metaphor), and finally calls for a ‘scavenger methodology’ as a way to consider the formation of feminist and queer archives.
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Metzger, Cyle. "Chris Vargas's Consciousness Razing." TSQ: Transgender Studies Quarterly 7, no. 1 (February 1, 2020): 99–104. http://dx.doi.org/10.1215/23289252-7914542.
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Abstract Chris Vargas's exhibition Consciousness Razing: The Stonewall Re-Memorialization Project commemorates the fiftieth anniversary of the Stonewall rebellion by smashing pervasive mythologies that erase transgender people from most retellings of the uprising and showcasing multiple artists' proposals for monuments that at least address if not remedy this absence. Stories of gay and lesbian civil rights victories that came out of Stonewall—like the dissolution of sodomy laws, the creation of employment nondiscrimination protections, and gay marriage—all tend to trace back to the rebellion, while the critical role that transgender women, many of color, played in these advances has slipped deep into unseen corners of historical memory. This forgetting is both a symptom and cause of the continued erasure of transgender people, especially transgender women of color, from contemporary LGBT activism, community, and discourse. As a gesture of amelioration, this monument implores us to reconstruct memories of Stonewall as a way of not merely supporting celebrating contemporary trans existence but ultimately shaping trans futurity.
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Więckowska, Katarzyna. "Between and Beyond Intersex and Transgender Studies: A Review of Transgender and Intersex: Theoretical, Practical, and Artistic Perspectives, Stefan Horlacher ed., New York: Palgrave Macmillan, 2016." Anglica Wratislaviensia 56 (November 22, 2018): 321–29. http://dx.doi.org/10.19195/0301-7966.56.20.
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This review assesses Transgender and Intersex: Theoretical, Practical, and Artistic Perspectives 2016, edited by Stefan Horlacher. Inspired by the international and interdisciplinary conference on “Transgender and Intersex in the Arts, Science and Society” that was held in 2012 in Dresden and that gathered researchers, activists, and artists working in transgender and intersex studies, the collection aims at mapping potential alliances between intersex and transgender positions, while acknowledging that the interests of transgender and intersex communities and researchers may be conflicting, if not at times contradictory. The volume adopts a non-hierarchical, multiperspectival, and interdisciplinary approach to examine a variety of issues related to gender variance and politics of recognition. Accordingly, the articles focus on those processes and texts that have played major roles in deconstructing and reconstructing gender identities during the late twentieth and early twenty-first centuries, and present analyses of legal and sociopolitical issues, theoretical perspectives and dilemmas, and literary and visual representations. The diverse topics and perspectives embrace the ethical framework of human rights, so as to inquire into the ways through which the lives and representations of marginalized groups can be improved.
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Mills, Robert. "Visibly Trans?" TSQ: Transgender Studies Quarterly 5, no. 4 (November 1, 2018): 540–64. http://dx.doi.org/10.1215/23289252-7090017.
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Abstract What happens when medieval depictions of gender-crossing saints get refracted through a transgender prism? Focusing on objects and artifacts associated with St. Eugenia of Rome, this article considers the extent to which medieval artists confronted the genderqueer potential of Eugenia's legend. Often the saint was overtly feminized, patently obscuring her road to sanctity as a gender crosser. But sometimes the crossing itself was rendered at least partially visible—notably in scenes representing the moment when, after a period living as a male monk, Eugenia is placed on trial and forced to reveal her “true” identity as a woman. Some depictions of Eugenia may therefore resonate with more recent expressions of queer and trans identity. This prompts critical reflection on the concepts of passing and trans visibility in histories of transgender.
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Khairani, Cut, Rahmad, Fitri Ernalis, Iqa Nauli, and Anjasmara. "Social Interaction of Transvestites in Bireuen Regency." Britain International of Humanities and Social Sciences (BIoHS) Journal 3, no. 1 (March 1, 2021): 217–23. http://dx.doi.org/10.33258/biohs.v3i1.394.
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The purpose of the study was to understand the social phenomenon of negative stigma and social exclusion of the existence of transvestite makeup artists through social interaction with the community in Bireuen Regency. This research uses grounded theory with data processing procedure using open coding techniques, coding a stunt and selective coding against data collected through observation, and in-depth interviews. The sample of respondents reached 20 people determined through snowball sampling techniques. The results showed that 53% of makeup artists in Bireuen Regency are transvestites who have experienced a gender identity crisis triggered by imitation actions. This form of social interaction then gets a community response in the form of dissociation, conflict with religious and socio-cultural values that develop in society. Social interaction of cultural accommodation efforts and social structures by transvestite makeup artists was not able to fuse the barriers of negative stigma attached to transgender people in Bireuen Regency.
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del Mar Pérez-Gil, María. "Undressing the Virgin Mary: Nudity and Gendered Art." Feminist Theology 25, no. 2 (January 2017): 208–21. http://dx.doi.org/10.1177/0966735016679907.
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Stripping the Virgin Mary of the myths, stories, and dogmas surrounding her is a task that has particularly appealed to a branch of feminist theology which seeks to reclaim her as a figure of female empowerment. This article aims to explore the transformation of Mary’s body into an element of resistance in the work of some contemporary artists. By depicting her nude or semi-nude, artists disrupt the gender values commonly associated with the Virgin and open up alternative possibilities of affirmative selfhood through her body. I contend that, in these works, the Virgin’s body functions as a ‘relational’ body that enters into dialogue with hitherto marginalized categories, such as the carnal, the sensual, the notion of fleshly materiality, or even the excluded sexualities of transgender people.
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Mandolini, Nicoletta, and Giorgio Busi Rizzi. "Brazilian Trans Artivism, Comics and Communities, between Digital and Print." European Comic Art 16, no. 2 (September 1, 2023): 100–124. http://dx.doi.org/10.3167/eca.2023.160205.
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Abstract This article looks at the intersection of web-based comics and print graphic memoirs authored by transgender Brazilian comics artists. Brazilian comics have in recent years opened up to internet platforms, a change that has proved particularly fruitful for LGBTQ+ artists, traditionally marginalised by the Brazilian comics industry. The article examines two case studies – those of Luiza Lemos and Alice Pereira, both authors of comics originally posted on social media and later published in print. By means of a mixed methodology that brings together semi-structured interviews with the authors and close readings, this contribution investigates the dynamics regulating the creative and publishing processes of these works, as well as the relationship that they entertain with the practice of transsexual self-narration and self-portraiture.
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Anugrah, Tirta, Muhammad Fikri Alif Ghani, Maulida Salsabila Purba, Meliastaras Surbakti, and Erwan Effendi. "Opini Publik Mengenai Maraknya Publik Figure yang Melanggar Norma di Media Sosial." Da'watuna: Journal of Communication and Islamic Broadcasting 4, no. 3 (April 1, 2024): 1408–13. http://dx.doi.org/10.47467/dawatuna.v4i3.1194.
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This research aims to describe public opinion regarding the rise of public figures who violate norms on social media. This research is a qualitative descriptive study. The research results show that a public figure is an influential person whose every behavior, attitude and activity becomes a public spectacle. So, a public figure needs to be careful in being positive in real life or on social media. There are several public figures who frequently violate norms in Indonesia, including artists, influencers and high-ranking officials. Examples of violations of norms are artists who say that they are transgender, artists who have pornography cases, artists who have bad attitudes, namely fighting through innuendo and harsh words on social media. Artists who commit sexual harassment and infidelity. Another example is an influencer who endorses a beauty product, which after investigation turns out to contain ingredients that are harmful to the skin. An example of this is high-ranking officials, namely where there are high-ranking officials who always display their luxury and wealth on social media, which turns out to be obtained from them committing corruption and bribery in their agencies. Public opinion regarding the violations of norms that occurred, namely the public's opinion to reject them by criticizing them on social media in the form of cyberbullying and cancel culture.
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Triburgo, Lorenzo, and Sarah Van Dyck. "Representational Refusal and the Embodiment of Gender Abolition." GLQ: A Journal of Lesbian and Gay Studies 28, no. 2 (April 1, 2022): 249–58. http://dx.doi.org/10.1215/10642684-9608161.
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Abstract The crisis of mass incarceration has made its way into US mainstream politics in the last five years owing in large part to the transgender activists of color who have been at the forefront of prison abolitionist movements for the last five decades. While mainstream media displays a seemingly insatiable visual appetite for trans and queer bodies, transgender women and trans-queer people—particularly those of color—continue to experience violence and criminalization at increasingly high rates. If we are to understand the prison industrial complex as an infrastructure of oppression upheld in part by the dominant narrative that people of color, poor people, and queer people are “dangerous” (to the white-capitalist-heteropatriarchy), it is critical to examine the visual language of criminalizing queerness and to further consider the work of artists grappling with efforts to shift the narrative while remaining wary of the traps of visibility.
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Lehner, Ace. "The Transgender Flipping Point: How Trans Instagrammers Flip the Script on Identity." Journal of Cultural Analysis and Social Change 7, no. 2 (December 30, 2022): 18. http://dx.doi.org/10.20897/jcasc/12759.
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Since Time magazine’s now iconic 2014 cover story featuring trans actress Laverne Cox proclaimed the contemporary moment ‘The Transgender Tipping Point’, there has been much debate about the recent proliferation of trans representations across all media sectors. Trans scholars, culture producers, artists, and activists have argued that this is not only a misconception, but it occludes the corpus of trans visual culture made by and for trans culture producers reflecting a wider diversity of trans experiences that do not readily reflect dominant cultural paradigms. Defined as a self-image made with a hand-held mobile device and shared via social media platforms, the selfie has facilitated self-imaging becoming a ubiquitous part of globally networked contemporary life. Beyond this, selfies have facilitated a diversity of image-making practices and enabled otherwise representationally marginalized constituencies to insert self-representations into visual culture. A close look at the prolific selfie practice of Black British, gender-non-conforming, trans-femme performance artist Travis Alabanza reveals their use of Instagram to be a critical intervention into contemporary culture. In self-imaging complex, expansive, and intersectional identity, Alabanza’s oeuvre produces new visual exemplars that defy stereotypes and erasures produced by dominant culture while simultaneously challenging our previously held conceptions of identity and self-portraiture. Alabanza’s work decolonizes the relationship between the subject and the portrait, encouraging viewers to consider the complex dialectical relationship between images, aesthetics, and communication about identity, performativity, gender, racialization, class, and subcultural affiliations.
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Padrón, Karla M. "To Decolonise is to Beautify: A Perspective from Two Transgender Latina Makeup Artists in the US." Feminist Review 128, no. 1 (July 2021): 156–62. http://dx.doi.org/10.1177/01417789211013432.
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Sepahvand, Ashkan, Meg Slater, Annette F. Timm, Jeanne Vaccaro, Heike Bauer, and Katie Sutton. "Curating Visual Archives of Sex." Radical History Review 2022, no. 142 (January 1, 2022): 19–36. http://dx.doi.org/10.1215/01636545-9397016.
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Abstract In this roundtable, four curators of exhibitions showcasing sexual archives and histories—with a particular focus on queer and trans experiences—were asked to reflect on their experiences working as scholars and artists across a range of museum and gallery formats. The exhibitions referred to below were Bring Your Own Body: Transgender between Archives and Aesthetics, curated by Jeanne Vaccaro (discussant) with Stamatina Gregory at The Cooper Union, New York, in 2015 and Haverford College, Pennsylvania, in 2016; Odarodle: An imaginary their_story of naturepeoples, 1535–2017, curated by Ashkan Sepahvand (discussant) at the Schwules Museum (Gay Museum) in Berlin, Germany, in 2017; Queer, curated by Ted Gott, Angela Hesson, Myles Russell-Cook, Meg Slater (discussant), and Pip Wallis at the National Gallery of Victoria, Melbourne, Australia, in 2022; and TransTrans: Transatlantic Transgender Histories, curated by Alex Bakker, Rainer Herrn, Michael Thomas Taylor, and Annette F. Timm (discussant) at the Schwules Museum in Berlin, Germany, in 2019–20, adapting an earlier exhibition shown at the University of Calgary, Canada, in 2016.
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Park, Ye Nim. "A Study on overcoming trauma through the concept of family in contemporary photography: focusing on the works of Nan Goldin." Korea Institute of Design Research Society 8, no. 1 (March 30, 2023): 601–10. http://dx.doi.org/10.46248/kidrs.2023.1.601.
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Creative activities often act as a tool to overcome trauma for artists. Nan Goldin is an American photographer who was first introduced in New York in the 1970s and 1980s for documenting intimate daily life of herself and friends who were part of bohemian and LGBTQ(Lesbian Gay Bisexual Transgender Queer) minority cultures. Nan started photography to overcome the trauma caused by her sister’s death. Leaving home, she formed a new concept of family and recorded their daily life in the form of a diary. Through understanding Nan Goldin's childhood and concept of family, the thesis analyzes narrative techniques, subject matters, and colors used in work. Viewers gain sympathy and comfort in an unfamiliar way through Nan Goldin’s daily record.
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Maimunah, Maimunah, and Aribowo Aribowo. "Empowerment of Waria Ludruk Artists in AIDS/HIV Prevention Program." KOMUNITAS: International Journal of Indonesian Society and Culture 7, no. 1 (March 1, 2015): 79–92. http://dx.doi.org/10.15294/komunitas.v7i1.3598.
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Waria or transgender is one of the key population which has a significant role in the success of HIV/AIDS prevention program in East Java. It is estimated that the biggest waria community is in East Java, particularly in Surabaya. The main objective of this research is improving capacity building of ludruk artist waria through HIV/AIDS prevention program. The study has two objectives; firstly to find the effective strategies in improving warias feminine skills such as knitting, hair dressing. Secondly to find the effective programs both on-stage and off-stage to improve the quality of ludruk performance such as revitalizing their marketing management, using social media to promote their schedule to the young generation. Some inportant points can be conluded from this study. Firstly, integrated coordinating system between ludruk artist waria and waria communities such as Perwakos and Iwama should be improved. HIV/AIDS prevention programs become uneffective without coordination. In this point, ludruk artist waria need to know that HIV/AIDS prevention programs such as VCT, HIV testing is free of charge. Secondly, in terms of management internal system, ludruk needs to revitalize the content of the story in their performance to be more compatible with the younger audience. To do so, the cooperation is needed among all the stakeholeders to make ludruk survive in the capitalist industrial show business in Indonesia.Salah satu populasi kunci yang memberi kontribusi tingginya prevalensi HIV dan AIDS di JATIM adalah komunitas waria karena di propinsi ini estimasi jumlah waria terbesar di Indonesia. Penelitian ini akan membahas bagaimana waria seniman ludruk dilibatkan dalam pencegahan HIV/AIDS. Program yang telah dilakukan adalah revitalisasi baik on-stage (diatas panggung) dan off-stage (di luar panggung). On-stage memfokuskan pada upaya revitalisasi pertunjukan ludruk dengan sistem dan manajemen pertunjukan yang lebih modern, menarik penonton generasi muda dan memanfaatkan tekhnologi internet dalam pemasarannya. Sedangkan Off-stage melalui penguatan keterampilan feminine (feminine skills) seperti menjahit, salon, wirausaha dll sehingga mereka mandiri secara ekonomi. Hasil penelitian menyimpulkan ada faktor internal yaitu kurangnya koordinasi pimpinan ludruk dengan organisasi induk waria dalam mensosialisasikan program penanggulangan HIV/AIDS. Disamping itu, mobilitas waria yang tinggi antar kota menjadi kendala tersendiri untuk mengumpulkan mereka ketika ada pemeriksaan VCT dan tes HIV. Faktor internal ludruk adalah perlunya revitalisasi dan inovasi managemen pemasaran yang modern berbasis tekhnologi serta inovasi cerita ludruk agar lebih menjangkau anak muda. Dibutuhkan kerjasama dengan semua stakeholders agar ludruk tetap bertahan dalam gempuran industri hiburan di Indonesia.
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Farrell, Andrew. "Feeling Seen: Aboriginal and Torres Strait Islander LGBTIQ+ Peoples, (In)Visibility, and Social-Media Assemblages." Genealogy 5, no. 2 (June 12, 2021): 57. http://dx.doi.org/10.3390/genealogy5020057.
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This article explores shifting social arrangements on social media as experienced by Aboriginal and Torres Strait Islander gay, lesbian, bisexual, transgender, intersex, and queer (LGBTIQ+) peoples. These digital social assemblages are situated within a broader context of heteropatriarchy and settler colonialism in Australia and beyond. In digital spaces, multiple marginalised groups encounter dialogic engagements with their friends, followers, networks, and broader publics. The exploration of how digital discourses (in)visibilise Indigenous LGBTIQ+ diversities underline the intimate and pervasive reach of settler colonialism, and highlight distinctly queer Indigenous strategies of resistance. Through the experience of Aboriginal and Torres Strait Islander LGBTIQ+ artists, activists, and celebrities, this article demonstrates the shifting unities and disunities that shape how we come to know and understand the complexities of Indigenous LGBTIQ+ identities and experiences.
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Nelson, Audrey L., and Chanmi Hwang. "The queering of the apparel industry: Exploring transgender consumer needs when shopping for clothing." Fashion, Style & Popular Culture 8, no. 2 (May 1, 2021): 233–45. http://dx.doi.org/10.1386/fspc_00082_1.
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For individuals who identify as queer, the concept of ‘men’s’ and ‘women’s’ clothing departments is often not ideal and does not align with their values, role or body image. This study explores transgender consumers’ experiences and needs when shopping for clothing and provides suggestions on how apparel retailers can promote a more inclusive apparel shopping experience. Four themes surfaced as participants in this study discussed their apparel shopping experiences: (a) inclusivity throughout store layout and interaction with retail sales staff, (b) gender-affirming clothes that positively influence role and self-esteem, (c) non-restrictive garment fit and compression, and (d) interest in inclusive androgynous styles and aesthetic qualities from queer artists to benefit the queer community. In this study, the concept of trans-inclusive is used as a way of welcoming and implementing the idea of apparel and fashion beyond cisnormative identities, and also as a way to advocate for inclusivity in all consumer markets. This research provides insights for the apparel industry on what is needed for this emerging market of queer individuals and promotes a more inclusive apparel shopping experience.
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Kohfeld, J. Michael. "Women sounding out: Listening for queerness in folk and popular music of the United States." Journal of Popular Music Education 6, no. 2 (July 1, 2022): 207–15. http://dx.doi.org/10.1386/jpme_00085_1.
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Folk music and other popular styles associated with rural regions of the United States appear to be unlikely places to find lesbian, gay, bisexual, transgender, queer and other gender/sexual minorities (LGBTQ+). Consequently, teaching folk music of the United States with attention to diversity, equity and inclusion can be challenging for music educators. In this article, I use Yves Bonenfant’s notion of ‘queer listening’ to discuss queer genders and sexualities in folk and popular music, applying the framework to three songs by women artists: Tracy Chapman’s ‘For My Lover’, the Indigo Girls’ ‘Closer to Fine’ and Amythyst Kiah’s version of ‘Black Myself’. By treating queerness as a ‘doing’ rather than a ‘being’, queer narratives of oppression, survival, resilience and triumph in folk music can be discussed in the music classroom with greater nuance in relation to history, performance and reception.
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Gaines, Andrew M. "Therapeutic teaching artistry: Towards a wellness model for enhancing vitality in older adults." Drama Therapy Review 7, no. 1 (April 1, 2021): 95–113. http://dx.doi.org/10.1386/dtr_00063_1.
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This qualitative case study examined how the therapeutic aspects of drama teaching artistry was conceptualized at an urban lesbian, gay, bisexual, or transgender (LGBT) senior centre by observing and/or participating in 31 creative arts education sessions and conducting two focus groups with the centre’s older adult members. Additionally, 34 semi-structured interviews were held with the centre’s teaching artists (TAs), older adults and administrators. Using constructivist grounded theory, emergent themes led to two primary findings: (1) the conceptual category therapeutic teaching artistry articulated how TAs’ practices promoted health and wellness; and (2) a provisional major concept Being Alive captured how members’ quality of life were perceived to be enhanced by the creative arts education programming. Beyond facilitating reminiscence, preventing decline or merely stimulating older adults, TAs helped older adults internalize a greater sense of agency, affirm their own humanity and improve vitality without unethically conducting creative arts therapy.
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Sansonetti, Annie. "Girl Talk and Hold Music." TSQ 10, no. 3-4 (November 1, 2023): 527–43. http://dx.doi.org/10.1215/23289252-10900998.
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Abstract In this article, the author visits filmmaker Wu Tsang's 2015 short film Girl Talk at the New Museum in New York. The film's documentation of a dance, the author's fieldwork in the museum, and Tsang's cinematography evidence how feminine boyhood and trans girlhood are better supported in the music, conversation, and dance of what the author calls “girlfriend performance.” Against the violence of adult-authored accounts of trans feminine childhood, this article argues that children's friends should tell the story of trans feminine childhood instead. The author examines Tsang's film for its depiction of friendship in queer and trans feminine childhood and develops a transfeminist educational theatre exercise inspired by its repertoire of conviviality—of “girl talk and hold music”—for applied theatre artists, drama educators, and art therapists working with queer and trans youth, specifically feminine boys and transgender girls, and their friends.
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Coloma, Roland Sintos. "Queering Asian Canada: Troubling Family, Generation, and Community." Asian Diasporic Visual Cultures and the Americas 4, no. 1-2 (March 4, 2018): 89–113. http://dx.doi.org/10.1163/23523085-00401005.
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This article argues that a queer perspective on Asian Canadian studies can open new inquiries and simultaneously trouble the centrality of family, generation, and community in documenting and examining racialized minority and diasporic groups. By rethinking these analytical concepts through queer possibilities and interventions, research into Asian Canada can become more inclusive and transgressive, and can foreground alternative queer kinships which exceed heteropatriarchal bloodlines, filial relations, and co-ethnic singularities. Putting forth counter-histories of racialized and diasporic sexualities, this article builds upon and complements archival research on lesbian, gay, bisexual, and transgender Asian Canadians, and turns to artists and cultural workers who offer rich historical and contemporary representations of queer Asian Canada. In particular, it examines the 2015 film It Runs in the Family by Joella Cabalu, the 2016 film Re:Orientations by Richard Fung, and the 2016 exhibition Not a Place on a Map: The Desh Pardesh Project curated by Anna Malla.
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Милановић, Алекса. "TRANS ARTIVIZAM NA POSTJUGOSLOVENSKOM PROSTORU." ГОДИШЊАК ЗА СОЦИОЛОГИЈУ 29, no. 1 (December 28, 2022): 169–83. http://dx.doi.org/10.46630/gsoc.29.2022.10.
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This text explores the field of trans artivism in the post-Yugoslav space as a platform of social and political intervention. Trans artivism is approached as a form of political art, but also of social action with a potential to enable and support social and political mechanisms of change. In other words, trans artivism is a hybrid modality of artistic and activist work enacted as a strategy of resistance to transphobia. In the post-Yugoslav space, trans artivism often appears as the most potent mode of social intervention left for the trans community. I explore both artistic practices made by trans artists and trans-related art which uses trans-related elements and approaches. The analysed examples are illustrative of the attitude that the social majority has towards gender minorities as well as of the attitudes that the trans individuals themselves have towards their own bodies, identities, and the wider trans community. Keywords: artivism, transgender, community organizing, post-Yugoslav space, trans community
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Forsgren, La Donna L. "Violence, Ritual, and Vogue: Black Queer Feminist Praxis in Motion." MELUS 46, no. 4 (December 1, 2021): 37–53. http://dx.doi.org/10.1093/melus/mlac004.
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Abstract As an unapologetically Black feminist artist, Ntozake Shange furthered the cause of black girl representation on Broadway stages with the 1976 debut of for colored girls who have considered suicide / when the rainbow is enuf. Shange’s award-winning choreopoem eschews the masculinist liberation discourse of the Black Power era and instead centers the concerns of Black girls within the freedom struggle. Using twenty poems interlaced with dance and music, Shange illuminates the subjectivity of seven “colored girls” who experience sexual, emotional, and physical violence in their communities. Committed to the health and safety of the entire Black community, Shange concludes the performance with a ritual dance to foster unity and community healing from violence. Her early Black feminist intervention serves as a foundation for the artistic work of Black Lives Matter activists today, many of whom continue to use ritual performances to promote community healing in the wake of white-authored violence. Black Lives Matter movement artists and activists Gorgeous Mother Karma Gucci, Adonte Prodigy, and Amya Miyake-Mugler, for example, performed ritual Voguing at a Chicago demonstration on 3 June 2020 to bring greater visibility to the intracultural violence reaped upon Black queer and transgender girls. Their ritual Voguing, which I situate as Black queer feminist praxis in motion, reimagines the Black radical tradition as collective liberation. Collectively, the work of Shange, Gucci, Prodigy, and Mugler affirms the vital truth that none of us are free until all of us are free.
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SIEG, KATRIN. "Identity Issues in German Feminist Movements and Theatre." Theatre Research International 37, no. 1 (January 26, 2012): 74–76. http://dx.doi.org/10.1017/s0307883311000800.
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Identity politics, understood as the analysis of the ways in which social roles are inscribed on the body, affects and behaviour, and in which collective experiences of oppression also produce resistant practices, informed German feminisms and performances during the 1980s and early 1990s. Since then, major feminist playwrights have shifted into literary production, or abandoned gender as their central critical concern in view of other urgent issues that arose after reunification, including historical revisionism, economic restructuring, rising racism and xenophobia, and globalization fears. Younger white artists playfully unbundled gender and sex and supported the postfeminist consensus that feminist identity politics had become obsolete. The work of Bridge Markland, which can be found on YouTube, emblematizes a burgeoning transgender and drag culture that was transnationalized through film, video, photography exhibitions and workshops. In this critical vacuum, immigrant and minority women were saddled with intensifying, ever more essentialist discourses of gender and ethnic difference, and continued to grapple with them through deconstructive and historicizing, as well as essentializing, deployments of identity.
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Echesony, Gibson. "Perception of Gender Roles in Modern Art Exhibitions in Nigeria." American Journal of Arts, Social and Humanity Studies 4, no. 1 (May 30, 2024): 33–42. http://dx.doi.org/10.47672/ajashs.2066.
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Purpose: The aim of the study was to assess the perception of gender roles in modern art exhibitions in Nigeria. Materials and Methods: This study adopted a desk methodology. A desk study research design is commonly known as secondary data collection. This is basically collecting data from existing resources preferably because of its low cost advantage as compared to a field research. Our current study looked into already published studies and reports as the data was easily accessed through online journals and libraries. Findings: The study indicated that modern art exhibitions have increasingly become a platform for challenging and redefining traditional gender roles. Contemporary artists frequently address themes of gender identity and societal expectations, pushing boundaries and provoking thought. This shift reflects broader cultural movements toward gender equality and fluidity. Exhibitions now often feature works that explore the complexities of gender through various mediums, including painting, sculpture, and digital art. Curators are more consciously inclusive, aiming to represent diverse voices and perspectives. This evolving landscape not only highlights gender disparities but also celebrates non-binary and transgender experiences, fostering a more inclusive and reflective art world. These exhibitions serve as a critical dialogue on the evolving perceptions of gender roles, encouraging audiences to question and rethink preconceived notions about gender in contemporary society. Implications to Theory, Practice and Policy: Feminist theory, social constructionism and postmodernism may be used to anchor future studies on assessing the perception of gender roles in modern art exhibitions in Nigeria. Encourage art institutions to adopt diverse curatorial practices that prioritize equitable representation of artists across genders and identities. Develop and implement institutional policies that prioritize gender diversity, equity, and inclusivity in art exhibitions.
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Shaw, Gareth, and Xiaoling Zhang. "Cyberspace and gay rights in a digital China: Queer documentary filmmaking under state censorship." China Information 32, no. 2 (October 30, 2017): 270–92. http://dx.doi.org/10.1177/0920203x17734134.
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Owing to China’s austere censorship regulations on film media, directors of films and documentaries engaging with lesbian, gay, bisexual and transgender themes have struggled to bring their work to domestic attention. Working outside of the state-funded Chinese film industry has become necessary for these directors to commit their narratives to film, but without approval of China’s State Administration of Press, Publication, Radio, Film and Television, these artists have had little chance of achieving widespread domestic distribution of their work. However, advancements in new media technology and Web 2.0, ranging from digital video formats to Internet-based distribution via social media networks and video-hosting platforms, provide opportunities for Chinese audiences to access films and documentaries dealing with LGBT themes. This empirical study assesses how production, promotion and consumption of queer documentary films are influenced by the development of social media within Chinese cyberspace. Through close readings of microblogs from SinaWeibo, this study combines analysis of contemporary research with digital social rights activism to illustrate contemporary discourse regarding film-based LGBT representation in China. Finally, the study comments on the role that documentary filmmaking plays in China’s gay rights movement, and discusses the rewards (and challenges) associated with increased levels of visibility within society.
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Littler, Jo, and Verónica Gago. "We want ourselves alive and debt free!" Soundings 80, no. 80 (May 1, 2022): 9–21. http://dx.doi.org/10.3898/soun.80.01.2022.
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Verónica Gago is Professor of Social Sciences at the University of Buenos Aires, Argentina and author of Neoliberalism From Below (Duke 2017); Feminist International: How to Change Everything (Verso 2020); and, with Lucí Cavallero, A Feminist Theory of Debt (Pluto, 2021). She is an active member of the grassroots feminist movement Ni Una Menos, founded by a group of artists, activists and academics in Argentina. Ni Una Menos has described itself as a 'collective scream against machista violence'. It has regularly held protests against femicides, and has connected femicide to a range of other issues, including sexual harassment, abortion and reproductive rights, transgender and sex worker rights, the gender pay gap, gender roles, neoliberalism and debt. Its first demonstration was organised in the wake of a 14-year old pregnant girl, Chiara Paez, being beaten to death by her boyfriend, in Buenos Aires in 2015. This brought together 200,000 people. In 2016 the movement came to wider attention on social media through the hashtag #NiUnaMenos, and protests spread throughout Latin America, particularly in Chile, Uruguay and Peru, where it prompted what has been described as the largest demonstration in Peruvian history. In 2016 Ni Una Menos launched a national women's strike. After sustained campaigning, in 2020 abortion became legal in Argentina; and in 2021 a law was passed giving employment rights to travestis and trans people. Its campaigns to reclaim rights and resources continue. In this interview, conducted in July 2021, Jo Littler talks to Verónica Gago about Ni Una Menos, her work and activism.
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Roe, Lorna, Miriam Galvin, Laura Booi, Lenisa Brandao, Jorge Leon Salas, Eimear McGlinchey, and Dana Walrath. "To live and age as who we really are: Perspectives from older LGBT+ people in Ireland." HRB Open Research 3 (May 21, 2020): 6. http://dx.doi.org/10.12688/hrbopenres.12990.2.
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This Open Letter discusses the theme of ‘diversity in brain health’ in research, practice and policy for older LGBT+ people. It is written by a multidisciplinary group of Atlantic Fellows for Equity in Brain Health at the Global Brain Health Institute in Trinity College Dublin (TCD), from a variety of disciplines (health economics, human geography, anthropology, psychology, gerontology) and professions (researcher, clinicians, writers, practicing artists). The group developed a workshop to explore the theme of ‘Diversity and Brain Health’ through the lens of lesbian, gay, bisexual, transgender/transsexual plus (LGBT+). . Guided by two advisors (Prof Agnes Higgins, TCD; Mr Ciaran McKinney, Age and Opportunity), we invited older LGBT+ people and those interested in the topic of LGBT+ and ageing, healthcare providers, policy makers and interested members of the research community. We partnered with colleagues in the School of Law to include socio-legal perspectives. Following the workshop, Roe and Walrath wrote an opinion editorial, published in the Irish Times during the 2019 PRIDE festival, and were subsequently invited by HRB Open Research to provide a more detailed expansion of that work. In this Open Letter we describe the theme of ‘diversity and brain health’ and some of the lessons we learned from listening to the lived experience of older LGBT+ people in Ireland today. We illustrate why it’s important to understand the lived experience of older LGBT+ people and highlight the failure of the State to evaluate the experience of LGBT+ people in policy implementation. We call on researchers, clinicians, service planners and policy makers, to recognize and address diversity as an important way to address health inequities in Ireland.
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Romana Ferreira de Souza, Karla, Amanda Oliveira Bernardino Cavalcanti de Albuquerque, Carlos Henrique Tenório Almeida do Nascimento, Ester Marcele Ferreira de Melo, Kydja Milene Souza Torres de Araújo, Wanuska Munique Portugal, and Carla Andreia Alves de Andrade. "Vulnerabilidade de pessoas transgêneros ao HIV/AIDS: revisão integrativa." Saúde Coletiva (Barueri), no. 56 (September 29, 2020): 3238–53. http://dx.doi.org/10.36489/saudecoletiva.2020v10i56p3238-3253.
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Objetivo: Analisar publicações científicas sobre a vulnerabilidade de pessoas transgêneros ao HIV/AIDS, partindo-se da questão norteadora: Qual a demanda de publicações científicas acerca da vulnerabilidade das pessoas transgêneros ao HIV/Aids? Metodologia: A coleta foi realizada entre março a dezembro de 2018, nas bases de dados LILACS, CINAHL, MEDLINE e PubMed. Utilizando-se o descritor “Transgendered Persons OR Transgender” integrado aos descritores “Vulnerability”, “HIV/AIDS” utilizando o booleano AND; e seus análogos em português e em espanhol. Resultados: A amostra foi composta por dez artigos, seis em inglês e quatro em português, oriundos da África Subsariana, Brasil, Índia, Jamaica, México e Peru. Conclusão: A amostra apontou que o estigma leva tanto à depressão quanto à vulnerabilidade à infecção pelo HIV nesta população. Portanto, se faz necessário entender a vulnerabilidade ao HIV e as necessidades específicas de prevenção e tratamento da infecção nesta população.
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Silva, Renato Canevari Dutra da, Ana Bárbara de Brito Silva, Fernanda Cunha Alves, Kemilly Gonçalves Ferreira, Lizza Dalla Valle Nascimento, Maryanna Freitas Alves, and Carlabianca Cabral de Jesus Canevari. "Reflexões bioéticas sobre o acesso de transexuais à saúde pública." Revista Bioética 30, no. 1 (March 2022): 195–204. http://dx.doi.org/10.1590/1983-80422022301519pt.
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Resumo No Brasil os transexuais, indivíduos cuja identidade de gênero diverge do sexo biológico, são marginalizados pela sociedade e encontram dificuldades para acessar o Sistema Único de Saúde. O presente estudo buscou identificar essas dificuldades por meio de revisão integrativa de artigos publicados nos últimos cinco anos nas bases SciELO, LILACS, MEDLINE, Campus Virtual de Saúde Pública, Base de Dados de Enfermagem e ColecionaSUS. Foram obtidos 26 artigos, dos quais apenas nove satisfizeram os critérios de inclusão, e, a partir das referências destes, incluíram-se mais nove trabalhos, totalizando 18. Os resultados mostram que as dificuldades encontradas são: hostilidade no atendimento; desrespeito ao nome social; despreparo técnico-científico dos profissionais; dificuldade de acesso aos procedimentos transgenitalizadores; e preconceito. Portanto, é imprescindível aplicar intervenções para minimizar a segregação dessas pessoas, sendo necessário mais pesquisas nessa área.
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Rodrigues, Rejane Lopes. "CORPO E AUTOEXPERIMENTAÇÃO: UMA LEITURA DA ARTCHARNELDE ORLAN A PARTIR DO PENSAMENTO PÓS-FEMINISTA DE PAUL B. PRECIADO / Body and self-experimentation: a reading of ORLAN's artcharnel from Paul B. Preciado's post-feminist thinking." arte e ensaios 26, no. 39 (August 15, 2020): 93–105. http://dx.doi.org/10.37235/ae.n39.8.
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A partir da década de 1960 teve início na Europa e nos EUA um novo movimento artístico conhecido como arte performativa. ORLAN, artista plástica francesa, insere-se neste movimento através de obras que incluem intervenções cirúrgicas em seu próprio corpo com o objetivo de questionar o status do corpo feminino na sociedade ocidental contemporânea. Diante disso, propomos no presente artigo, uma análise do seu trabalho a partir das considerações teóricas do filósofo e escritor transgênero Paul B. Preciado.Palavras-chave: Arte performativa; ORLAN; Gênero; Feminismo; Paul. B. Preciado.AbstractFrom the 1960s, a new artistic movement known as performative art began in Europe and the USA. ORLAN, a French artist, is part of this movement through works that include surgical interventions on her own body in order to question the status of the female body in contemporary Western society. Therefore, in this article, we propose an analysis of his work based on the theoretical considerations of the transgender philosopher and writer Paul B. Preciado.Keywords: Performative art; ORLAN; Genre; Feminism; Paul B. Preciado.
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Whitley, Sa. "We Call Them Bandos." TSQ: Transgender Studies Quarterly 9, no. 2 (May 1, 2022): 266–88. http://dx.doi.org/10.1215/23289252-9612949.
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Abstract This article explores the impact of the subprime foreclosure crisis on black transgender women in Baltimore, Maryland, by thinking with Project 42, a series of art installations curated by trans artist Molly Jae Vaughan that memorializes forty-two trans murder victims in the United States. Focusing on the project's memorialization of the late Tyra Trent, a black transgender woman who was murdered in a city-owned vacant property in the Central Park Heights neighborhood, the essay considers the textile design of Project 42’s “memorial garment” for Tyra Trent, which includes a pattern with the abstraction of the Google Earth imaging of the murder location, and black trans dance artist Aísha Noir's performance in the honorary dress as a collaborator with Vaughan for Project 42 installations. What follows is a political reflection at the intersection of black feminism, economic geography, and urban planning that demonstrates how black transfeminist worldmaking invites us to “revitalize” or replace traditional urban planning projects and challenge gendered racial capitalism.
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Hernández, Robb. "Pretty in pink: David Antonio Cruz’s portrait of the florida girls." Journal of Visual Culture 19, no. 2 (August 2020): 232–45. http://dx.doi.org/10.1177/1470412920941901.
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Roused by the deaths of five African American transgender women in Florida in 2018, artist David Antonio Cruz intervenes in inaccurate media reports about these murders. Painting portrait of the florida girls in 2019, his diptych of significant scale and palette, confronts this senseless violence and challenges sensationalized coverage. This article centralizes his work arguing for the ways in which Cruz innovates transgender of color visibility through a queer of color critiquing of the portrait form and concerted use of a ‘blacktino’ optic. Ruminating on the combined tragedies of gun violence at Pulse nightclub and serial murder of trans femmes, Cruz’s work interrogates the posthumous transgender image with a reversal of digital source material and bodily logics in pose and countenance. By turning to the transnational crossroads shaping these communities’ shared horrors, central Florida, Cruz activates his audience with a sense of urgency in the persuasive power of pink.
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Crawford, Lucas. "Four Gestures toward a Trans-Mad Aesthetic of Space." Social Text 39, no. 3 (September 1, 2021): 55–77. http://dx.doi.org/10.1215/01642472-9034418.
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Abstract This article argues for what the author calls a trans-mad aesthetic of space, defined as designs or artworks that embark, sense, emote, and collect, in ways that queerly disrupt the norms of the public sphere. These four aesthetic operations resist, in turn, four current affective/spatial norms of mental health treatment: confinement, rationality, repression, and an individualizing model of madness. As part of unfolding this model for a trans-mad aesthetic, the article asserts that the link between transgender and madness (as categories) is not merely one of addition—say, people who are both transgender and mad—but, rather, one of mutual constitution. To make these suggestions, the article engages an eccentric archive that includes posters that advocate transgender depathologization, Greek mythologies of gendered madness, government legislation about sexual sterilization, and psych ward design protocols. Its two key case studies, however, are artistic: Hannah Hull and James Leadbitter's “Madlove: A Designer Asylum” and the oeuvre of Montreal performance artist Coral Short.
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Isaka, Maki. "Kissing The Mask: Beauty, Understatement and Femininity in Japanese Noh Theater with Some Thoughts on Muses (especially Helga Testorf), Transgender Women, Kabuki Goddesses, Porn Queens, Poets, Housewives, Makeup Artists, Geishas, Valkyries and Venus Figurines. By William T. Vollmann. New York: HarperCollins, 2010; 528 pp.; illustrations. $17.99 paper, e-book available." TDR/The Drama Review 57, no. 3 (September 2013): 172–74. http://dx.doi.org/10.1162/dram_r_00290.
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Rizki, Cole. "“No State Apparatus Goes to Bed Genocidal Then Wakes Up Democratic”." Radical History Review 2020, no. 138 (October 1, 2020): 82–107. http://dx.doi.org/10.1215/01636545-8359271.
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Abstract This article forms part of an emerging body of scholarship on the sex/gender politics of authoritarian regimes in Latin America, turning specific attention to Argentine trans and travesti politics and rights claims as these articulate with legacies of authoritarianism. On March 24, 1976, the Argentine military staged a coup d’état and established a dictatorship, perpetrating mass civilian murder until democratic transition in 1983. Drawing on state intelligence archive surveillance documents, the artist-activist intervention Campaña DESAPARECER, and travesti and transgender testimony, this article argues that the enduring social and political legacies of interwar fascism not only persisted into the years of dictatorship, but that they also continue to animate and mediate post-dictatorship transgender politics. That is, in democracy, the enduring afterlife of fascism creates conditions of possibility for activists to mobilize the language of anti-fascism and shared memories of fascist state violence in the service of contemporary transgender rights claims. Such rights claims reveal illiberal state violence’s deadly imbrications with the politics of sex and gender during dictatorship and, at the same time, challenge present-day liberal narratives that relegate state violence to a distant illiberal past.
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Fischer, Mia. "Piss(ed): The Biopolitics of the Bathroom." Communication, Culture and Critique 12, no. 3 (May 3, 2019): 397–415. http://dx.doi.org/10.1093/ccc/tcz024.
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AbstractThis article analyzes two recent works by transgender performance artist Cassils, PISSED and Fountain (2017), which were created in response to the Trump administration's decision to rescind federal protections allowing transgender students to use the restroom of their choice. While Cassils primarily conceptualized PISSED/Fountain as a queering of binary, essentialist understandings of gendered embodiment, I draw on performance, queer, and critical ethnic studies to illustrate that these pieces simultaneously challenge other kinds of oppositional embodiments, particularly health versus disease and citizen versus alien and/or terrorist; conceptualizations the state frequently deploys to surveil and control marginalized populations. PISSED/Fountain offer audiences a new strategy for both exposing and contesting state violence: these pieces can be read as a politically strategic disidentification with the state's classification of certain bodies and their excretions as ``deviant'' and ``toxic'' in order to purposefully ``terrorize'' the state's bio- and necropolitical aims.
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Hamera, Judith. "Dancing, Reaching." Qualitative Inquiry 23, no. 7 (July 21, 2017): 545–49. http://dx.doi.org/10.1177/1077800417718299.
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This reflective essay uses an instance of gestural solidarity forged during Petrichor, a senior thesis performance at Princeton University created by transgender artist Bree White, to probe both the “Keep Dancing Orlando” video made in response to the horror of June 12, 2016, and, more broadly, the specific mechanisms through which dance creates communities of shared labor across difference in troubled times. It posits the reach—the moment when outstretched arms move toward, for, and sometimes with another—as the kinesthetic unit incarnating dance’s political-affective potential.
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Alliez, Éric. "Duchamp Within and Against Lacan." Theory, Culture & Society 37, no. 7-8 (October 27, 2020): 329–53. http://dx.doi.org/10.1177/0263276420959415.
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Critical reception of Marcel Duchamp since the 1970s has tended to elevate him into the very figure of the Artist he sought to attack. One aspect of this domestication has involved neglecting Duchamp’s fin de siècle ‘eroticism’ with its sexual innuendos and double-entendres. Yet this very readymade vulgarity allows us to recover a Duchamp still capable of disrupting the genres of Art and the gendered Artist, by revealing a theory embedded in his work which continually reverses and displaces phallocentrism in a game consisting of the confusion of genders and genres. We argue that Duchamp’s disruption of the discursive typologies of the genre of art can be profitably read through this apparently trivial sexualized wordplay, particularly in the transgender passage into Rrose Sélavy. Reading this aspect of Duchamp after, i.e. within and against, Lacan demonstrates how Duchamp’s singular regime of signs governed by equivocity and indetermination subverts the ‘phallic function’ of the signifier.
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Allan, Robert Reid. "MaerzMusik." Tempo 72, no. 286 (September 6, 2018): 80–81. http://dx.doi.org/10.1017/s0040298218000414.
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For one week in March, a bitterly cold Berlin became a hotspot for hard-hitting, radical and politically engaged music making, as MaerzMusik welcomed some of the most forward-thinking composers, performers, speakers and thinkers through its doors. With by far the most representation across the week's events, it was composer/producer/DJ/transgender activist Terre Thaemlitz who assumed the role of unofficial artist-in-residence, with her appearances spanning two concerts, a talk, a DJ set (under pseudonym DJ Sprinkles) and a 30-hour performance of his latest album Soullessness, which was installed over the festival's opening weekend at the Martin-Gropius-Bau.
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Santana, M. Myrta Leslie. "Transformista, Travesti, Transgénero." Small Axe: A Caribbean Journal of Criticism 26, no. 2 (July 1, 2022): 46–59. http://dx.doi.org/10.1215/07990537-9901597.
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This essay considers the stories of Blaccucini and Ángel Daniel, two Black transgender drag performers from Cuba, and dwells on the relationship they imagine between their work as performers and their subjectivities as trans people. The author situates these narratives within queer Cuban and Caribbean studies, noticing the ways they push back against renderings of gender and sexuality as inherently distinct categories. Instead, for these artist-thinkers, trans subjectivity is informed by various experiences related to gender, sexuality, race, class, and geography. The essay offers some possibilities for greater nuance in accounts of sexual subjectivity in Cuba and the Caribbean and locates the stakes of these discussions in broader transnational LGBT rights discourses.
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Salah, Trish. "What’s All the Yap? Reading Mirha-Soleil Ross’s Performance of Activist Pedagogy." Canadian Theatre Review 130 (March 2007): 64–71. http://dx.doi.org/10.3138/ctr.130.011.
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Mirha-Soleil Ross is not the most well known transsexual artist out there, but she is certainly one of the hardest working. A Toronto-based performance artist, film- and video-maker and activist on a wide range of issues, Ross is also the chief architect of Counting Past 2, the first festival of transsexual and transgender art and performance in North America.1 In this paper, I look at Ross’s most ambitious and professionally successful performance work to date, Yapping Out Loud: Contagious Thoughts of an Unrepentant Whore, a sequence of performance monologues in which Ross brings together her concerns with sex-worker, animal and transsexual rights and reflects upon her fifteen years as a prostitute and activist.2 Straddling the genres of spoken word, dramatic monologue and multi-media performance, Yapping Out Loud utilized video footage of coyotes living in the wild and being hunted, live music and voice recordings by prostitute- and animal-rights activists to create multiple, shifting frames for Ross’s monologue in seven acts.
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Francisco, Leilane Camila Ferreira de Lima, Alice Correia Barros, Mariana da Silva Pacheco, Antonio Egidio Nardi, and Verônica de Medeiros Alves. "Ansiedade em minorias sexuais e de gênero: uma revisão integrativa." Jornal Brasileiro de Psiquiatria 69, no. 1 (January 2020): 48–56. http://dx.doi.org/10.1590/0047-2085000000255.
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RESUMO Objetivo Evidenciar os fatores predisponentes relativos à ansiedade em minorias sexuais e de gênero na literatura. Métodos Trata-se de uma revisão integrativa. A busca dos artigos foi realizada em três bases de dados eletrônicas: PubMed/Medline, Scopus e ISI Web of Knowledge . Foram utilizados os descritores “ anxiety ”, “ LGBT people ”, “ gay ”, “ bisexual ”, “ lesbian ” e “ transgender ”, com textos completos, publicados no período de 2013 a 2018, no idioma inglês, e foi usado o operador boleano AND . Resultados Foram encontrados 712 artigos. Cinquenta e oito (58) artigos foram selecionados para serem lidos na íntegra e 13 atenderam aos critérios de inclusão desta revisão. As evidências mostram que a população LGBT apresenta maior risco para transtornos mentais, entre eles a ansiedade, quando comparada aos heterossexuais. O aparecimento dos sinais e sintomas de ansiedade estão relacionados com a vergonha e o comportamento evitativo dessa população devido à forte discriminação e à ausência de apoio social e familiar, o que ocasiona altos níveis de angústia. Apenas dois artigos estudaram menores de 18 anos. Conclusões Os profissionais da saúde devem estar abertos, acolhedores e atentos à saúde mental desse público, visando contribuir com a promoção da saúde, apoio social, familiar e a redução da discriminação.
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Fadly WIjayakusuma, Putri Kumalasari. "Less Masculine, More Feminine dan Less Feminine, More Masculine: Laki-laki Mengekspresikan Androgini Melalui Fashion." Emik 3, no. 2 (January 1, 2021): 137–59. http://dx.doi.org/10.46918/emik.v3i2.662.
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Androgyny combines masculine and feminine characters at once. Despite the fact that the way one’s talk, gestures, emotions, interests and talents are indicators of androgyny, fashion or the way they dress has become the main indicator. While the existing literatures deal more on characteristics, behavior, interests and talents, and self-representation through social media, this article is focused on how androgyny men exptress their gender through fashion.
This study was conducted in the city of Makassar which involved 12 male college students. They are varied based on age (between 20 and 24 years), and profession (master of ceremony, model, dancer, make up artist, disc jockey). Data was collected using in-depth interview, focus discussion group (FGD), and observation as the primary data sources as well website and social media (i.e. Instagram), as the secondary data sources.
The study indicates that androgynous men is not transgender because they did not want to become “like women”, as transgender do. Besides, androgynous men classify themselves higher than transgender, from both appearance and social class. Although androgynous men may express their androgynousness through behavior, interests and talents, fashion is the most significant aspect that indicates a person's androgynousity. Androgynous men express androgyny more through fashion than others because through fashion their existence is easily recognized, as it is combining between masculine and feminine characters. Androgynous fashion is divided into two, less masculine-more feminine and less feminine-more masculine. Whether an androgynous man is more feminine or more masculine, depending on their performance and perception towards what is being performed. The motives of androgynous men are divided into two, the first is “because-to-motive” and “in-order to motive”. While the former includes influencing by peer group, having sense of comfort, feeling self satisfaction, and being professional; the latter consists of expecting to be socially accepted and to be accepted as normal people.
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Spacal, Alenka. "With Masquerading Against Gender Binarisms." Maska 33, no. 189 (June 1, 2018): 50–58. http://dx.doi.org/10.1386/maska.33.189-190.50_1.
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The text discusses the Berlin-based artist Bridge Markland’s transgender performance entitled bridgeland zwei (1996). It is one of the most thought-out and one of the artistically most refined contemporary drag king/queen performances. With an exceptionally perfected cross-dressing, the performer transcended the gender binarism of the established concepts of masculinity and femininity. She first put on the mask of femininity, and then changed into a male protagonist. In the middle part of the staging and at the very end, she appeared as an androgynous being. It is shown how, with the help of exaggerations, strong parody, irony and even grotesqueness, the performer’s carnival body dressed up in the clothes and accessories characteristic of a precisely determined gender tried to overcome the rigid conventions of social heteronormativity.
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Gatti, Larissa Cruz, Vitória Fernandes Serafim, Júlia Barbosa da Silva Macedo, Agnes Caroline Lima da Silva, Cecilia Garcia Spadoni, Laura Antonieli Gaetano Santos, Leonardo Azevedo Mobilia Alvares, Priscila Rodrigues Leite Oyama, and Livia Marcela dos Santos. "Impacto na saúde mental de jovens trans após terapia de transição hormonal." Research, Society and Development 13, no. 3 (March 16, 2024): e6013345215. http://dx.doi.org/10.33448/rsd-v13i3.45215.
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Introdução: A pessoa transgênero não se identifica com o sexo designado ao nascimento, o que pode ocasionar episódios ansiosos, depressivos e ideações suicidas. Nesse contexto, a terapia de transição hormonal possibilita a obtenção de características do gênero desejado, influenciando na saúde mental dessa população. Objetivos: Compreender os impactos das terapias hormonais na saúde mental de jovens trans e elucidar se há póstumo benefício nesse cenário. Metodologia: Esta revisão considerou 14 artigos encontrados no PUBMED e 6 artigos no Google Acadêmico, a partir dos descritores (transgender); (hormonal therapy) e (mental health). Foram excluídos estudos datados de mais de 5 anos; textos incompletos; artigos não redigidos em inglês ou português e artigos que não contemplavam, concomitantemente, saúde mental e transgênero. Discussão/Resultados: A população de estudo foi de mulheres e homens transgênero entre 9 e 25 anos. O tempo de análise foi de 3 meses a 5 anos. Dentre os trabalhos, 12 artigos concordam que o acesso à terapia hormonal está associado a melhorias na qualidade de vida e na redução dos índices de depressão e um artigo sugere ausência de mudança clínica, dada a limitação populacional no estudo. Alguns artigos sugeriram a necessidade de ampliar o acesso à terapia hormonal. Conclusão: A terapia hormonal associou-se a melhor qualidade de vida e diminuição dos sintomas de depressão e ansiedade, provavelmente devido à identificação com as características físicas adquiridas. Todavia, é necessário rastrear doenças e a saúde mental antes, durante e após a transição hormonal.
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Araujo, Leandro Dias de, Natalia Barbosa Camelo, Natália da Silva Martins, Helen Figueiredo Oliveira, and Maria Isabel Barbosa Silva. "O IMPACTO DA FISIOTERAPIA NO PÓS-OPERATÓRIO DE REDESIGNAÇÃO SEXUAL EM MULHERES TRANSGÊNERO." Revista Brasileira de Sexualidade Humana 34 (August 25, 2023): 1090. http://dx.doi.org/10.35919/rbsh.v34.1090.
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Objetivo: Discutir as abordagens fisioterapêuticas e o impacto biopsicossocial no pós-operatório de redesignação sexual em mulheres transgênero. Metodologia: Este artigo é uma revisão integrativa da literatura no periodo de 2015 a 2022, por meio dos bancos de dados das bibliotecas virtuais PubMed, PEDro, SciELO; empregando os termos em inglês, mediante os descritores: Physioterapy, Sex Reassignment Surgery , e Transgender Woman e suas versões em português, com o operador booleano de busca AND. Resultados: Inicialmente, foram encontrados 176 artigos com parâmetros estabelecidos pela estratégia de busca. Na avaliação dos critérios de elegibilidade, a partir da leitura na íntegra desses documentos, encontravam-se aptos 6 artigos para este estudo, sendo incluídos mais 3 pelas buscas aleatórias virtuais. Conclusão: Com esses estudos observou-se a importância da fisioterapia no pré e no pós-operatório de redesignação sexual em mulheres transgênero, trazendo uma melhor qualidade de vida e diminuição das possíveis complicações decorrentes ao processo cirúrgico, sendo as abordagens mais utilizadas: biofeedback, eletroterapia, terapia manual, cinesioterapia e uso de dilatador vaginal.
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Farias, Sidnei Rodrigues de, and Geraldo Cunha Cury. "Acesso aos cuidados em saúde de travestis e mulheres transexuais no Brasil." Research, Society and Development 11, no. 14 (October 27, 2022): e293111436161. http://dx.doi.org/10.33448/rsd-v11i14.36161.
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Travestis e mulheres transexuais sofrem exclusão social, apresentam uma alta carga de doenças e baixa expectativa de vida. Este trabalho é uma revisão integrativa com o objetivo de descrever o acesso dessas pessoas aos cuidados em saúde no Brasil. Buscamos nas plataformas SCIELO, LILACS, BVS e PUBMED os descritores: Sexual and Gender Minorities; Transgender Persons; Transvestism; Health Services Accessibility; Therapeutics; Unified Health System; Health Services for Transgender Persons. Selecionamos 39 artigos com as categorias: acesso ao Sistema Único de Saúde (SUS) e direitos sociais, Vírus da Imunodeficiência Humana adquirida (HIV) e profilaxia de pré-exposição ao HIV (PreP), percepção dos profissionais de saúde sobre transexualidade, estratégias de feminização, nome social e consumo de álcool e drogas. O não uso do nome social no SUS, o consumo inadequado de hormônios e silicone líquido revelam dificuldades de acesso ao SUS. O abuso de álcool e drogas, a prostituição, baixa renda e pouca escolaridade são fatores importantes para uma má qualidade de vida dessas pessoas. Há uma alta prevalência de HIV e a supressão da carga viral é baixa nessa população onde uma minoria usa a PreP. A atenção primária à saúde (APS) não tem cumprido seu papel de porta de entrada e coordenadora do cuidado no SUS. O número de cirurgias realizadas no processo transexualizador do SUS é baixo e são necessários investimentos econômicos e de gestão de pessoas para melhorar esse quadro.
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Chatterjee, Sandra, and Cynthia Ling Lee. "Solidarity – rasa/autobiography – abhinaya: South Asian tactics for performing queerness." Studies in South Asian Film & Media 4, no. 2 (October 1, 2012): 131–42. http://dx.doi.org/10.1386/safm.4.2.131_1.
Full textAbstract:
This article examines the work of D’Lo, a Sri Lankan-transgender-hip hop performance artist, and the Post Natyam Collective, a transnational coalition that develops critical and creative approaches to South Asian dance. The works utilize two strategies for performing queerness in relation to South Asian cultural practices: (1) autobiographic performance art rooted in identity politics and (2) the South Asian technique of abhinaya. These strategies use different modes of identification and audience–performer relationships. Autobiographical solo performance creates solidarity through shared identity or alliances between performer and audience. Abhinaya evokes pleasure and sensuality in multiple, ambiguous ways towards the goal of evoking rasa, ideally the audience’s experience of emotional–spiritual transcendence. We investigate tactical crossovers between the strategies of autobiography and abhinaya in D’Lo’s and Post Natyam’s work: how do they interact, where might they exclude each other, and what kind of performance of queerness emerges through their interplay?
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Carmack, Kara. "‘I’m a person who loves beautiful things’: Potassa de Lafayette as model and muse." Journal of Visual Culture 19, no. 2 (August 2020): 246–54. http://dx.doi.org/10.1177/1470412920944493.
Full textAbstract:
In January 1977, Potassa de Lafayette visited Andy Warhol’s studio wearing a black velvet and taffeta evening gown. The Dominican model sat for sketches by visiting artist Jamie Wyeth and photographs taken by Warhol that together reveal the sequence in which Potassa raised her skirt and lowered her stockings to expose her penis. This contribution explores Potassa’s strategies of self-presentation amid the politics at play in the studio that day. The author reads Potassa as a self-possessed figure fully in control of her image because hers is an identity not predicated on a gendered or sexed body, but on a visual sensibility – as one who ‘loves beautiful things’. As an aesthete and as one of the first openly transgender models of color, Potassa, the author argues, negotiated difference through beauty and glamor in Warhol’s studio and across New York’s high art and fashion scenes.
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Franco, Neil, and Graça Aparecida Cicillini. "TRAVESTIS, TRANSEXUAIS E TRANSGÊNEROS NA ESCOLA: um estado da arte." Cadernos de Pesquisa 23, no. 2 (September 1, 2016): 122. http://dx.doi.org/10.18764/2178-2229.v23n2p122-137.
Full textAbstract:
Este ensaio apresenta um estado da arte sobre a relação universo trans e Educação, tendo como recorte o período de 2008 a 2014. Identificamos vinte publicações divulgadas na forma de textos em anais de eventos, artigos em periódicos, capítulos de livros, dissertações e teses. O material foi analisado à luz das teorias pós-críticas e sob uma abordagem qualitativa. A emergência de maiores estudos sobre a inserção e permanência de pessoas trans na escola é uma das constatações mais relevantes evidenciadas. Dentro das diversas dimensões que abrangem as discussões sobre gênero e sexualidades dissidentes, travestis, transexuais e transgêneros permanecem historicamente como o segmento social mais exposto a formas de vulnerabilidades e exclusão.Palavras-chaves: Universo trans. Educação. Transfobia. Exclusão. TRANSVESTITES, TRANSSEXUALS AND TRANSGENDERS AT SCHOOL: a state of the artAbstract: This paper presents a state of the art on the relationship between the trans universe and education, from 2008 to 2014. We identified twenty publications disseminated in the form of annals of events, journal articles, book chapters, dissertations and theses. The material was analyzed in the light of post-critical theories and under a qualitative approach. The emergence of larger studies on the inclusion and permanence of trans people in the school is one of the most significant findings highlighted. Within the various dimensions covering discussions about gender and sexuality dissidents, transvestites, transsexuals and transgender historically remain the social segment most exposed to forms of vulnerability and exclusion.Keywords: Trans universe. Education. Transphobia. Exclusion.TRAVESTIS, TRANSEXUALES Y PERSONAS TRANSGÉNEROS EN LA ESCUELA: un estado del arteResumen: Este estudio presenta un estado del arte sobre la relación universo trans y Educación, teniendo como recorte el período 2008 a 2014. Se identificaron veinte publicaciones reveladas en forma de textos en los anales de eventos, artículos en periódicos, capítulos de libros, disertaciones y tesis. El material fue analizado a la luz de las teorías post-crítica y bajo una abordaje cualitativa. La emergencia de nuevos estudios sobre la inserción y permanencia de las personas trans en la escuela fue una de las constataciones más relevantes evidenciadas. En las diferentes dimensiones que cubren las discusiones sobre género y sexualidad disidentes, travestis, transexuales y transgéneros permanecen históricamente como el segmento social más expuesto a formas de vulnerabilidad y exclusión.Palabras clave: Universo trans. Educación. Transfobia. Exclusión.